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Afterword
Comparative Drama Pub Date : 2022-05-31
Nicholas Holden

In lieu of an abstract, here is a brief excerpt of the content:

  • Afterword
  • Nicholas Holden (bio)

As the Omicron variant of COVID-19, the virus's most transmissible strain to date, took hold across the United Kingdom in December 2021, with London at its epicentre, the impact of illness and enforced isolation on productions brought fresh challenges to the city's cultural landscape coming into the new year. In the weekend before Christmas, almost half of productions in London were forced to close due to staff shortages, leaving theatres in what producer Cameron Mackintosh described as "a dreadful state."1 In the midst of what should have been a profitable season for the industry, theatres were instead forced to live day-to-day, unable to commit to performances beyond a twenty-four-hour window. Audiences, too, have suffered. Having returned to support theatres as restrictions in England eased, many are now unable to commit to attending the theatre coming into 2022, fearful both of the virus's increasing presence and the financial impact of a last-minute show cancellation. With additional governmental support unlikely, the situation looks only to deteriorate further as the year ensues. Postponements and ultimately closures seem an inevitability. Indeed, many within the industry—actors, producers, directors, writers, technical teams, front of house staff, and the myriad others who enable London's theatre to function in a way worthy of its world-leading status—are choosing to leave to pursue new careers, unable to sustain themselves any longer. We are undoubtedly living through one of the most difficult periods in theatre history, but the true impact of the pandemic on the industry's future both in terms of the communities and places that shape London's theatre may not be fully realized for some time.

Nicholas Holden

Nicholas Holden is Senior Lecturer in Drama at the University of Greenwich, UK. He is co-editor of the book series Playwriting and the Contemporary: Critical Collaborations (Liverpool University Press, UK). Alongside this, he is the author of book chapters and articles in the areas of Contemporary British Theatre, and Creative Arts Practice in London, and is the co-editor of the forthcoming edited collection: Beautiful Doom: the Work of Dennis Kelly on Stage and Screen (Manchester University Press, UK, 2023).

Notes

1. Ian Youngs, 'Omicron: Half of West End Theatres Hit by Covid Cancellations at the Weekend.', BBC NEWS, 20 December 2021, https://www.bbc.co.uk/news/entertainment-arts-59725684 (accessed 7 January 2022).

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中文翻译:

后记

代替摘要,这里是内容的简短摘录:

  • 后记
  • 尼古拉斯·霍尔登 (bio)

2021 年 12 月,随着 COVID-19 的 Omicron 变体(该病毒迄今为止最具传播性的毒株)在英国各地蔓延,以伦敦为中心,疾病的影响和强制隔离对制作的影响给该市的文化景观带来了新的挑战进入新的一年。在圣诞节前的周末,由于人手短缺,伦敦几乎一半的制作被迫关闭,使影院处于制片人卡梅隆·麦金托什(Cameron Mackintosh)所描述的“可怕状态”。1在该行业本应有利可图的季节中,剧院却被迫过着每天的生活,无法承诺超过 24 小时的演出时间。观众也受苦了。随着英格兰限制的放宽,许多人返回支持剧院后,现在无法承诺在 2022 年参加剧院,担心病毒的增加以及最后一刻取消演出的财务影响。由于不太可能获得额外的政府支持,随着时间的推移,情况似乎只会进一步恶化。推迟和最终关闭似乎是不可避免的。事实上,行业内的许多人——演员、制片人、导演、作家、技术团队、前台工作人员以及无数其他使伦敦成为可能的人 剧院以一种对得起其世界领先地位的方式运作——选择离开去追求新的职业,无法再维持自己的生活。毫无疑问,我们正经历着戏剧史上最困难的时期之一,但就社区而言,大流行对行业未来的真正影响塑造伦敦剧院的地方可能在一段时间内无法完全实现。

尼古拉斯·霍尔顿

Nicholas Holden是英国格林威治大学戏剧系的高级讲师。他是丛书剧本写作与当代:批判性合作(利物浦大学出版社,英国)的联合主编。除此之外,他还是当代英国剧院和伦敦创意艺术实践领域的书籍章节和文章的作者,并且是即将出版的编辑合集的共同编辑:美丽的厄运:丹尼斯凯利在舞台上的作品和屏幕(曼彻斯特大学出版社,英国,2023 年)。

备注_

1. 伊恩·杨斯(Ian Youngs),“Omicron:周末因 Covid 取消而取消的西区一半剧院。”,BBC 新闻,2021 年 12 月 20 日,https://www.bbc.co.uk/news/entertainment-arts-59725684( 2022 年 1 月 7 日访问)。

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更新日期:2022-05-31
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